Christopher Nolan's sci-fi crime thriller/best use of a spinning top film 'Inception' won't win the most Oscars in a few weeks, but stands as 2010's most commercially succesful hallucinogenic head trip. The film, revolving around a group of thieves able to enter the dreams of others to steal their ideas, tapped into the country's collective (sub)consciousness and accomplished a rare feat for a blockbuster: making people think.
If you liked 'Inception,' you might like 'Pink Floyd The Wall,' the 1982 film that remains one of the decade's trippiest mindscrews. clear="all" />
Like 'Inception,' Alan Parker's hybrid of animation and long-form music videos, based on the 1979 Pink Floyd album of the same name and writen by founding member Roger Waters, focused heavily on the elusiveness of dreams and the paradoxically easy, yet impossible, ability to remove yourself from society via your own subconsciousness.
Bob Geldof, whose day job involved fronting Irish rock band The Boomtown Rats and penning Christmas charity singles forever blasted in supermarkets each December, plays Pink, a dissolute and desperate rock star whose main hobby is self-destruction. With a dysfunctional marriage and constant thoughts of war over the death of his father in WWII, he retreats into his own mind, creating intricate alternate worlds through a series of dream-like sequences. That last part sound familiar, Leo?
Both films have inspired countless debates, with the Internet replacing your stoned friend's beanbags as the argumentative venue of choice. The purposeful ambiguous endings -- What happened to Pink? Did that damn top wobble? -- open each movie to interpretation and ensure that both will forever be locked in the WTF canon for as long as film and drugs peacefully coexist.
'Pink Floyd The Wall' Trailer
'Inception,' of course, has more obvious antecedents, most notably the 1984 sci-fi film 'Dreamscape' and Alain Resnais' 1961 classic 'Last Year at Marienbad.' And 'The Wall's' societal indictment -- with multiple overtures to corrupted power and totalitarianism -- don't register strongly in Nolan's tale. But like Pink, chief thief Dom Cobb (Leonardo DiCaprio) creates myriad walls to shield himself from the tragedies of reality.
And those were just oversimplified summaries. Watching both movies back-to-back would cause salvia-induced levels of altered consciousness. But properly spaced out, it should be enough to hold you over until 'Pi' comes up on On Demand.
Buy or rent 'Pink Floyd The Wall,' or buy 'Inception' on DVD.
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